The Official List of 100 Movies Every Catholic Should See

Our Entire List in One Place

Our list of 100 Movies Every Catholic Should See is finished. It has taken us two years of weekly posts to get here, and I am proud to say that we have never missed a week. The goal of our project since the beginning has been to educate people on the Catholic aspects of the art of cinema. Catholics are often very aware of great Catholic art in the realms of painting, music, and literature, but cinema is often seen as a sort of second-tier art form, one which exists to entertain more than to inspire. We at 100 Movies Every Catholic Should See hope that we have highlighted films which transcend that paradigm, films which truly reach for the Good, True, and Beautiful in their themes as well as in their technical artistic prowess. Film can be an exceptionally powerful medium, at its best combining the visual beauty of painting or photography with the moral power of drama and the emotional force of music to create an experience which can move the human heart like no other. This is why we love movies so much, and this is why we believe that filmmaking and film discussion is an essential part of evangelization in our modern world.

All great films, regardless of genre, are “catholic” in the sense that they touch on universal themes of human existence. Our list reflects the wonderful diversity of cinematic history, including (we hope) something for everyone that can draw them into deeper contemplation of God, his truth, and the meaning and beauty of human life. There are many films with explicitly Catholic themes, including a couple saintly biopics (A Man for All Seasons, The Reluctant Saint), biblical stories (Prince of Egypt, The Passion of the Christ), and even a story written by a pope and saint himself (The Jeweller’s Shop). Catholicism’s rich symbolic tradition, complex doctrines, and well-known hierarchical structure have made it a common subject of filmmakers throughout the 130 year history of cinema. Even secular garbage like Conclave (not on the list) sees the power of Catholic symoblism and morality to make a dramatic story. We are proud to highlight some of the best of this tradition and hope to continue to do so in the future.

But many (in fact, most) of the films on our list do not deal with Catholicism explicitly. Rather, these films show us universal truths about humanity in other ways. Each film was chosen because they can tell us something about goodness, truth, beauty, virtue and vice, belief and unbelief, dignity and love. They compass many genres; we have superhero films (Spider-Man 2), sci-fi epics (the Star Wars saga), animated children’s classics (Pinocchio), historical epics (Lawrence of Arabia), musicals (The Sound of Music), sports movies (Chariots of Fire), crime dramas (The Godfather trilogy), thrillers (Heat), horror films (A Quiet Place), westerns (Stagecoach), romantic comedies (A Shop around the Corner), literary adaptations (Pride and Prejudice), and Christmas movies (It’s a Wonderful Life). Our amazing group of writers brings a myriad of different perspectives to these films, rounding out a list which truly reflects the diversity of excellent cinema.

We did not come up with a list of 100 at the start to work through; we have built the list as we have gone based on the inspiration of each writer bringing to us a film they were passionate about and wanted to share the universal beauty of with our audience. This means that perhaps there were some movies that deserve to be on the list that did not make it; this also means that there are some on the list that our editors might not have personally chosen due to their own taste in cinema. However, we put great trust in our writers and they delivered, completing a list of films that we are truly proud of and hope can inspire you on your spiritual journey, giving you some moments of peace, beauty, and joy in this vale of tears.

So what is next for 100 Movies Every Catholic Should See? Well, we aren’t going anywhere, I’ll tell you that. It’s been an amazing ride and we will keep writing Catholic film criticism as long as anyone wants to read it. We already have plans for Another 100 Movies Every Catholic Should See, so be on the lookout for that series. We will continue to bring you reviews of new releases and deep dives into classics that don’t, perhaps, merit inclusion on the list but are of interest to a film-loving Catholic nonetheless. We will keep creating our podcast and youtube channel, so if you haven’t checked those out, you’re in for a treat! We also have ambitions to create films of our own, so keep a eye out for announcements about that in the future. We will continue to do what we can to serve God and bring you high-quality, thoughtful Catholic film criticism so that we can keep building this wonderful community and doing what we love: talking about our faith and our favorite movies. Stay tuned!

In the meantime, enjoy this master list of all 100 Movies Every Catholic Should See, and check out any of our posts that you missed! Every one of these movies and every one of these posts are real gems.

God bless,

Sam, Joe, Cameron, and the team at 100 Movies Every Catholic Should See

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#1: A Man for All Seasons (1966)

A Man for All Seasons deserves it place near the top of the list of great Catholic films. St. Thomas More’s many virtues, firm commitment to truth above all else, and deep love for God shine through every moment of this magnificent film. His example of courage, statesmanship, generosity and affection towards friends and dependents, steadfast faith, and love for God and family stand as noble models of Christian living. More’s faith and integrity, as much in the twenty-first century as the sixteenth, call us to hold steadfast to the truth no matter what the cost or how unreasonable the demands of the faith seem by worldly standards. After all, “finally, it is not a matter of reason,” as St. Thomas More tells his family while awaiting his trial. “It’s a matter of love.”

#2: The Tree of Life (2011)

Terrence Malick asks a lot from his audience with a lot of his films, but none more so than The Tree of Life. Yet those who seek for answers will find them again and again as they watch, re-watch, and study the film. And just like Malick portends to the possibility of a higher understanding of his work upon diligent viewership, so too does God reward us for the contemplation of His works, incomprehensible as they are in our limited human state.

To quote one of the last lines of the film’s screenplay: “And still the vision is not the journey. The real journey has yet to begin.”

#3: Fantasia (1940)

Fantasia succeeds in this goal. It is certainly one of the most beautiful pieces of Western animation ever conceived. A series of seven animated vignettes with no dialogue or interconnecting story, Fantasia washes over its audience with wave after wave of intoxicating beauty, relying on the power of the music and visual imagery to hold the viewer’s attention. It is a mesmerizing display of the power of art to captivate us, to cause us to sit back and contemplate rather than comprehend, to ravish our senses while also inspiring us to look beyond the sensible world and meditate upon the mystery of our place in the universe.

#4: Goodbye, Mr. Chips (1969)

In contemporary politics and philosophy we hear a lot about the broken education system and are constantly reminded by the failures of modern education by writers like G.K. Chesterton, C.S. Lewis, etc. But St. John Henry Newman (pray for us!) wrote a book (I have not had the pleasure to read it yet) titled; The Idea of a University, in which he provided a defense and an advocation of the ideal catholic university, in which this classical curriculum is key and available to all. This model for classical education I think is present in the character of Mr. Chips and in a school he dedicated his life to.

#5: Dekalog (1989)

From Commandment one to Commandment Ten, Kieslowski remains true to his haunting, challenging vision of mankind, never providing clear storytelling evidence of his intentions, but allows the nature of God, present in the lives of his characters and his audience, to awaken people to truth, to understand the necessity of higher moral values in a broken world, and to offer hope amidst unthinkable sorrow. Tied together, the ten films can offer a summation of life much the way that God gave two great commandments to sum up the ten; “Love the Lord your God with all your heart, soul, mind and strength” and “Love your neighbor as yourself.” Rarely has a film so thoroughly and artistically expressed a need for mankind to practice love of God and love of neighbor.

#6: Star Wars (1977-2005)

Star Wars constructs its vast history in a way that honors a Christian view of human history. It’s not a nihilistic Game of Thrones nor a triumphalist revisionism, but a cycle of human virtue and sin across galactic events and governments that rise and fall due to our fallen state and weaknesses. Even amidst what looks like an endless cyclical repetition, the Force seems to be guiding believers in every age of the saga to rise up and return balance to galactic affairs. Therein is the corollary to the Christian idea that God is in command of the vicissitudes of human events: empires will rise and fall but all is tending providentially towards an ultimate redemption.

#7: Calvary (2014)

Calvary is a film you could watch over and over and still leave with something new. I could write books on its symbolism and artistry, but if I could only say one praise to convince the reader to give it a watch, it would be this; Hollywood has spent years deconstructing faith with overblown acts of heroism and ego, and nothing it has produced compares to the portrayal of silent, humble heroism found in Calvary. The antidote for modernity is not loud protests or calls to action. It is simply the virtue of forgiveness, even unto death.

#8: The Miracle Maker (2000)

The way that The Miracle Maker portrays Jesus is astonishingly good. At moments, he seems completely human, as when he is eating with friends at Bethany or in the visible annoyance he displays when the Pharisees try to test him. At others, he displays a power not of this world, a mystery and authority unmatched by any of the powerful figures around him. Jesus in this film is fully divine and fully human, both God Almighty and our brother. We are called to react as his followers did, with a mixture of awe and joy at the wonders he works, but also with a love and familiarity as our dearest friend and brother. Christ inspires no half measures; we must either recognize his authority and follow him, or regard him with fear and hatred.

#9: The Seventh Seal (1957)

In a time when artificial intelligence threatens to take over Hollywood with executives anxious to utilize it is a tool to streamline the scriptwriting process, The Seventh Seal stands as a poignant reminder that the best kind of storytelling derives from real human beings confronting the effects of the Fall: our concupiscence, our suffering, and namely, our mortality. It may be impossible for us as humans to win the proverbial “game of chess” with Death, but through Christ, hope shines like a ray of light seen by only those who have the Faith to see it.

#10: Mr. Smith Goes to Washington (1939)

This film stands as one of the great American political epics in film history. And it stands as so not just because of the towering performances given by James Stewart and Claude Raines, or the powerful political drama, but also the poignant and timeless political lessons it gives us not just as Americans but as Catholics too.

#11: The Sacrifice (1986)

The Sacrifice is included in the Vatican film list under the Art category. Its value as a work of cinema cannot be argued, but its value as a testament to authentic Christian virtue, radical abandonment to the divine in the face of a world that resists the divine at every turn, cannot be overstated. Tarkovsky’s choice to end both his life and career with this visually and emotionally stunning parable of Christian sacrifice speaks to his legacy as one of the few authentic Christian film directors, and watching The Sacrifice, one can see the soul of an artist who truly believed in the saving power of the cross.

#12: Stalker (1979)

There is no one correct interpretation of Stalker (and all of Tarkovsky’s films in general), but there is a correct lens to look at the ending through. Only through the lens of Christian Faith can the viewer hope to make sense of the famed ending. For me personally, it is a triumph of a man surviving his test of Faith and finding peace for his loved ones by embracing his vocation and living closer to the One he is dedicated to, the One that gives him purpose with the ones he loves.

#13: I Confess (1953)

A good understanding of the rules and rituals of confession unlock layers of this film which make it one of the best portrayals of Catholicism on film. And the suspense and human drama involved keep the audience engaged throughout even as they portray a Catholic understanding of the fallenness of man, sin, temptation, redemption, and forgiveness. I Confess is both a great Catholic film and a great Hitchcock thriller. Although the Master of Suspense did not often allow his faith to overtly influence his art, when he did the results were truly amazing.

#14: Indiana Jones and the Last Crusade (1989)

From Fortune and Glory to Faith and Family: whether intentional or not, Spielberg and Lucas created a franchise that not only paid tribute to the serials and B-movies of their childhood but also tells a unique story of the grand adventure that can lead to Faith.

#15: Prisoners (2013)

Prisoners as a whole is very reminiscent of a scene in Dostoevsky's Brothers Karamazov. If we continue in belligerent, ungodly self reliance, we incur a debt to God through our own actions. Each choice we make that seeks to drive control from the hands of the Maker into our own all too fallible capabilities separates us from the Plan, until at last we have no options left but two: to shed ourselves and embrace the unknowable history already written or to wage a war against God.

#16: Lilies of the Field (1963)

The beauty of Lilies of the Field lies within not only the idea of not worrying, but in holding steadfast to faith. Not through wallowing in despair, but in transferring that energy to prayer, and the sheer trust that life just works its way out in the end, whether one feels his or her words aren’t strong enough or understandable. With that mystery of faith, the prayers of Homer, Mother Maria, and Father Murphy have been answered in the form of a loving chapel wherein the true mystery of faith is rooted.

#17: Spider-Man 2 (2004)

Being a hero, or even a saint, is an arduous task. It takes courage to support your beliefs and to share them with the world. It requires the faithful to live the Faith despite trials and hardships thrown our way. Spider-Man 2 reminds us that the sharing our gift of faith to the world will be extremely difficult. We may lose friends and loved ones along the way. We may risk losing our careers, social status, and perhaps (in dire circumstances) our lives. But, as Catholics, we must choose to live the Faith so we can not only bring each other closer to Christ but also help bring those in darkness into the light.

#18: The Godfather Trilogy (1972-1990)

The Godfather trilogy, even the controversial third film, stand together as cinematic giants. The story, music, acting, and themes create a beautiful story about the rise of one Italian-American family. But behind the incredible action and stereotypes is a real family story: a story that provides Catholics with a warning of the dangers of letting our desires cloud our decisions. Catholics should not watch this movie to glean any virtue knowledge but should watch it as a warning. Do not let your family fall apart. Keep your family close to virtue and lead them to their final destination, heaven. The Godfather movies are ones you cannot simply refuse!

#19: Gravity (2013)

Cuaron’s triumphant story of the human spirit was praised for its technical achievements and award-winning central performance, and the film is memorable today for its jaw-dropping outer space sequences, but these final moments on earth reveal the subtext of the entire film, and seal it as one of the most moving pieces of twenty-first century popular art. The soul is lost without God, drifting aimlessly in the darkness, and only with the power of faith can the soul find its way home again.

#20: The Reluctant Saint (1962)

The entire movie is filled with humorous yet poignant scenes, and the fantastic ensemble does a great job moving between pathos and comedy. Any sort of cinematic extravagance is eschewed in favor of character moments that make these centuries-old figures feel wholly real and relatable. Schell’s St. Joseph of Cupertino serves as a model for us for how to live our lives with joy even in the toughest of circumstances, because we can always rejoice in the overabundant love our Lord wishes to share with us in every moment of our lives.

#21: The Trouble with Angels (1966)

Our perception of the nuns’ vocation changes alongside Mary Clancy’s. She sees loneliness and suffering in the secular world she is familiar with, and joy and peace in the religious life she is now observing. Mary’s growth is enormous throughout the film and as her perception of Mother Superior and the rest of the nuns changes their life becomes more and more attractive to her. By the end of the film, to the shock of her friend Rachel, Mary actually joins the order, choosing to stay at St. Francis and give up the glamorous worldly life she had been leading. To some, this choice may seem shocking or a ludicrous waste of a young woman’s life; however, given the peace, beauty, and joy of the religious life as seen in this film, Mary’s choice seems very reasonable indeed.

#22: The Village (2004)

The village elders have written off the outside world in fear. Fear is the opposite of love. Ivy flips this view on its head, and in doing so, finds that there is still good in the world. As Catholics, this is an important lesson to keep in mind as we look around and see the great evil. We need not retreat in fear. Our faith urges us to live the gospel with great love and confidence. M. Night Shyamalan’s The Village is a beautiful, heartfelt film which invites us to ponder these questions. Aided by one of the most exquisite scores written in this century and a poetic canvas of cinematography laden with allegory, this film should be on every Catholic’s watchlist.

#23: Pinocchio (1940)

Pinocchio could easily be considered the pinnacle of Walt’s golden age, not just for the exceptional animation and music, but for the faithful adherence to the original story’s Christian allegory. Enjoyed today by modern audiences as a simple animated fantasy about the misadventures of a wooden boy, the Christian viewer will also enjoy the subtext which provides a much richer story. It’s a powerful reminder of the importance of virtue and man’s need for spiritual intercession, and a heartwarming reflection on the Father’s eternal love for His child.

#24: Interstellar (2014)

We cannot truly quantify love (although it’s possible Aquinas would’ve tried) in the sense that Dr. Brand speaks of, except maybe we can: it is quantifiable in the exhausted smile given to a new father from his wife who has just given birth to their child, a student who after months of struggling is excelling under a caring and invested teacher, and an old priest moved to tears who is celebrated by his parish after decades of service.

The most powerful force in the universe is the choice to love.

#25: The Third Man (1949)

The Third Man is one of the greatest thrillers of the mid-twentieth century. Its exploration of themes of loyalty, deception, and everyday evil and perfectly complemented by its gothic setting, gorgeous lighting and cinematography, and excellent dialogue and acting. It is a truly excellent film and deserves its place alongside Alfred Hitchcock’s best in the pantheon of great thrilling cinema.

#26: The Dark Knight (2008)

What more can be written about The Dark Knight? As it turns out, much. This examination of the central philosophy at the heart of the film — that men can and should stand strong in the face of evil — only scratches the surface of everything at play. Such themes and such conversations are capable of existing in giant, blockbuster movies consumed by the masses. It's part of the reason why The Dark Knight still endures to this day. This writer can only hope that more writers and directors take this lesson from the film and apply it to more populist entertainments.

#27: Chariots of Fire (1981)

Every Catholic should watch this movie because it puts human achievement in the proper context. St. Irenaeus of Lyon writes “the glory of God is man fully alive!” and Eric Liddell echoes that sentiment when he says “I believe God made me for a purpose, but he also made me fast! And when I run I feel his pleasure.” It’s true that God doesn’t care if Notre Dame wins this Saturday in football, but there is supreme joy and beauty in simply living. There is joy and beauty not only in living, but living excellently.

Chariots of Fire is a film made by an unknown director with unknown lead actors, yet out of this team of unremarkables came one of Britain’s greatest and most inspirational films.

#28: The Bridge on the River Kwai (1957)

The craftsmanship of Bridge on the River Kwai is among the best: David Lean’s shot composition, relentless development of tension, and structure are almost perfect. The use of on-sight filming and going above and beyond in the production department really helps add to the director’s signature scope. The Bridge on the River Kwai stands to this day as a testament to the power of cinema, and a towering achievement from the Golden Age of Hollywood. It is essential viewing for any Catholic, and equally important for any cinephile.

#29: A Hidden Life (2019)

What makes Jägerstätter’s life in the film all the more remarkable is his willingness to endure, further, to the very limits of human punishment; occasional physical beatings, but most of all that deprivation of proper time for prayer and his family. As the painter in the church during the film reminds us, “Christ’s life is a demand. The people, they don’t want to be reminded of it; they’ll fight the truth, and they’ll just ignore it. What I do is create sympathy.” It is through all the saints and the blesseds that we are reminded of the aspect of our faith: sacrifice. And it is in this film that Malick fully expresses this very Catholic conception of sacrifice, something that we should all, especially Catholics, should seek to emulate.

Bl. Franz Jägerstätter, Pray for us!

#30: Master & Commander: Far Side of the World (2003)

Much could be written on this excellent piece of cinema. Overshadowed in its 2003 release by The Lord of the Rings, The Return of the King, it has since grown in its much deserved appreciation. Master and Commander: The Far Side of the World resists the lure of modernist tropes, staying committed to accurately portraying the age of seafaring heroes through a timeliness tale of friendship and sacrifice. Historians, casual film-goers and Catholics alike will gain much in seeing this film.

#31: Henry V (1989)

When choosing films to watch—This truism

Undergirds everything within this blog.

Henry V stands out as a fantastic

Drama regardless of its cinematic

Adaptions to the screen. It is a play

That every Catholic should watch. The movie

That Branagh made in 1989

Conveys the spirit of this play as well

As any stage production in the world.

Account yourself as blessed if you have seen it,

And if you haven’t, go and watch it soon.

#32: Faust (1926)

“Love conquers death” might sound like an overly predictable sentiment for a movie’s central theme, but this truth is used repeatedly in storytelling because it resonates with all of humanity. If a single act of self-sacrifice can redeem a person from a lifetime of misrule, then Christ’s promise of salvation is true for all, not just the ones who remained virtuous throughout their lives. Faust as a character goes on a turbulent journey of good intentions pursued with unjustified means, to hedonistic despair, to the discovery of love and the opportunity for redemption. This universal theme, paired with gorgeous visuals and memorable performances from the entire cast, places Murnau’s influential masterpiece as one of the crowning achievements of the silent era, and one of the most memorable finales that triumphantly declares the power of sacrificial love.

#33: The Iron Giant (1999)

After this film, Bird went over to Pixar to make two of their best films, The Incredibles and Ratatouille, and is currently working on his passion project, Ray Gunn, with his old friend John Lasseter over at Netflix. Many still cite The Iron Giant as his best film, and in this humble writer’s opinion, it may very well be the greatest animated movie ever made. It’s a testament to a different age of entertainment and to a medium that many look back to with wistful fondness. Every frame of this movie was handcrafted with love and passion for the art form, and together with Michael Kamen’s gorgeous score it stands as one of the most beautiful films ever made.

#34: The Passion of Joan of Arc (1928)

The Passion of Joan of Arc is a must-watch for any Catholic cinephile. Cinema has never again come as close as this to being truly sacred art. Its profound themes and deep spiritual significance are perfectly complemented by the emotional performances and tremendous visual power of Dreyer’s direction. It demands frequent viewings over many years to fully unpack all the symbolism and spiritual richness to be found here. Unlike many more modern retellings of saints’ lives, The Passion of Joan of Arc is never saccharine or trite, but rather raw and devastating to watch. It’s not a “message movie”, but it’s message shines through loud and clear: be faithful to Christ, take up your cross, and follow Him. Your vindication and your reward will be greater than your wildest imagination.

#35: The Agony and the Ecstasy (1965)

Michelangelo’s paintings affirm and illuminate many theological truths. This scene serves to highlight one in particular, namely that the act of God’s creation was an act of love, and that creation was good. Creating beautiful art mirrors this great cosmic act. Anyone who has been in the Sistine Chapel in Rome remembers the awe they felt when they beheld the magnificent ceiling for the first time. Michelangelo’s frescoed ceiling is a masterpiece that has guided the faithful for centuries to turn their eyes to God and meditate upon his truths. The Agony and the Ecstasy, while not near the level of sophistication and profundity of some other notable art films with christian themes, gives the Catholic viewer an approachable dramatization of a significant event in the history of the church. Aided by colorful cinematography, a majestic score and powerful acting, it is well worth the watch.

#36: 12 Angry Men (1957)

12 Angry Men stands as one of the greatest films of all time: I have personally seen the film upwards of eight or nine times at this point and not once has it gotten old or stale. Those who wish to study or make films would find it well worth their while to begin with this one, especially for Lumet’s tight direction and work with cinematographer Kaufman. It’s a simple concept performed at the highest caliber, serving as a poignant reminder of the importance of thinking for yourself amidst the cacophony of a world of ambivalent noise.

#37: Babette's Feast (1987)

At the beginning of this post, I made a bold claim. I said the ‘Catholic film’ does not exist. It still doesn’t. Yet any film that touches on the transcendent will have Catholic themes. Catholicism is the bridge by which we are brought to Oneness, Truth, and Goodness Himself. In this way, there is no such thing as the ‘Catholic film’ because all films can be Catholic.

Babette’s Feast is a film that every Catholic should see multiple times. It is a classic in every sense of the word. Five stars. Go watch it tonight. When you are done, take a deep breath and praise God that you exist, thanking him for such a lavish gift that you cannot fathom. End your prayer like the simple pietist who has no other lines: “Halleluiah!”

#38: No Country for Old Men (2007)

Fascinated by morality plays and the haunted landscape of America, Joel and Ethan Coen excel at both comedy and tragedy, sometimes in the same film, and even in their bleakest stories, they seek epiphanies about man’s relationship with sin, violence, and the occasional divine intervention. Despite featuring one of the most unnerving villains in the history of cinema, the movie never depicts evil in an attractive light, and though ambiguity always features in the Coen’s storytelling, their allusions to cosmic justice and the possibility of evil vanquished reveal the directors as morally astute filmmakers. No Country for Old Men speaks to a yearning in people’s hearts for evil to be acknowledged, and for good men to shine a light in the darkness, no matter how old they get.

#39: It's a Wonderful Life (1946)

If there’s one movie on this list that all of our readers have already seen, it’s probably It’s a Wonderful Life. It combines a wonderful Christmas story with a beautiful romance and adds in a heavy dash of explicitly Catholic imagery, from the use of guardian angels to help people on earth to a house blessing given by the Baileys to an Italian family as they move in to the haunting use of the Dies Irae in the score as George Bailey contemplates ending his own life. It is regularly featured in lists of great Catholic films, including the Vatican’s own list for the 100th anniversary of film as a medium in 1995. There was no question that It’s a Wonderful Life was going to be our Christmas pick this year, just as there’s no question that The Passion of the Christ will be our Good Friday pick in the spring. Its omission would be an utter travesty.

#40: Arrival (2016)

The emotional impact of Arrival when fully experienced without distraction is hard to describe. It does not beg for your investment with cheap tricks or hack writing or vibrant visuals, it does not tell you want to think or hold your hand through its plot. Arrival trusts the viewer with its ideas and manages to describe things that should be outside the human imagination. Art is almost ubiquitously a criticism of fallen man, and Arrival proves that the greatest works of art point to hope beyond our making that will draw us out of whatever misery life has in store.

#41: The Secret Life of Walter Mitty (2013)

With a fun and stylish execution, The Secret Life of Walter Mitty, offers audiences simple yet profound lessons on the value of seeing the beauty in life’s ordinary moments while simultaneously believing in oneself to make that leap of faith into the unknown. There is no shortage of humorous moments and epic, eye-popping shots which awaken the adventurer in each one of us. A truly good work of art can speak to universal truths, no matter the genre or medium. The Secret Life of Walter Mitty will leave you feeling uplifted and with a smile on your face, perfect for the next family movie night.

#42: The Truman Show (1998)

The Truman Show has a terrifyingly simple concept: what if you were born into a reality show set on an island where all the people you know are actors and all your life had been broadcast live 24/7 to the entire world? After having seen it multiple times in my life I can confirm it is truly one of the great American films! Every time I rewatch it I discover something new. If you haven’t seen it yet I would definitely recommend bumping it up on your watchlist.

#43: The Prince of Egypt (1998)

This film is an approachable, powerful, unapologetically good religious movie. It's not sickly sweet, it’s not hitting you over the head with cries to convert- but it does suck you in, mesmerize you with one of the best stories ever put into film, and then leave you to play the soundtrack on repeat for a solid week after. It's the proverbial foot in the door for anyone who doesn't know where to start on religious movies. It's a source of common ground for the three major religions on this earth, and it's a conversation starter for anyone who appreciates cinema, music, history, and art. (The hieroglyphic dream sequence alone hits on every single one of these points in a manner I can only describe as jaw-dropping) So run, don’t walk, and rewatch Prince of Egypt. A milestone in cinematic endeavors, DreamWorks’ self-proclaimed magnum opus, and undoubtedly a movie every Catholic should see.

#44: On the Waterfront (1954)

There are many spiritual observations and parallels that can be drawn from this film. It's one of the very rare films that one can meditate on and draw spiritual lessons from, rather than just use for entertainment. The spiritual journey of Terry Malloy serves as an example for all of us. In order to truly work for justice, we will have to ignore bad advice and false loyalties. The journey will not be easy; rather, we must pick up our cross and follow in the footsteps of Christ.

#45: Groundhog Day (1993)

Films like Groundhog Day allow us to hone a genuinely Catholic sense of mystery and contemplation by being explicit in their mysteriousness. No Logos, Jacob Marley, or god descends from the rafters, indicating the reason for this temporal anomaly. This lack of a reason maddens viewers—and leads to the spilling of much digital ink while parsing out Groundhog Day’s meaning. Instead of trying to understand the whole of Groundhog Day, allow yourself to look at it like you might look at the ocean or a night sky. Contemplate the characters. Savor each moment. Like Phil Connors, realize you’re not a god, and thank Him for the changing of the days. Muse on Purgatory. Dance in a gazebo. Enjoy the film without having to figure it out.

#46: The Sound of Music (1965)

There are so many other things to be said about this movie, it’s been very difficult deciding what to include. From the incredible music to the absolutely beautiful scenery and sets, to the acting, the script, the characters, let alone the sheer, pure wholesomeness and virtue, there are countless reasons why this movie will always be a classic. It shines especially as a family film as it’s one in a very small minority of Hollywood films that portray a beautiful, healthy, happy family on screen. So if you’re looking for something that focuses on the harsh realities of life, the nitty gritty, and the dark alleyways of the world, this should not be your choice for movie night. But if you’re looking for something inspiring and uplifting that highlights the moments of hope and joy amidst the human experience, I would recommend this beautifully done masterpiece.

#47: Andrei Rublev (1966)

Tarkovsky’s Andrei Rublev represents an essential viewing for any Catholic interested in film. Casual viewers should not be dissuaded by its 3 hour runtime and Russian language, it is well worth the effort. One should not feel discouraged if they do not understand everything on a first viewing. One of the joys of great cinema involves being presented with many ideas that may not seem apparent at first, but spark further meditation and conversation afterwards. The writer of this article spent several weeks pondering and discussing this great film prior to putting thought to paper. This Lenten season presents a perfect opportunity to deepen one’s faith. Film has the potential to elevate one’s mind and soul to God just as all art that is true, good and beautiful. The world has been truly blessed by artists like Andrei Rublev and Andrei Tarkovsky who have embraced their vocations and let their lights shine for the benefit of all humanity.

#48: The Princess Bride (1987)

The Princess Bride is a testament to the classic building blocks of what makes cinema great. Enduring characters, beautiful music, exciting landscapes, one-liners, sword fights, and heart. Sometimes, to qualify a movie as great, it really need only be a film that brings joy to the masses, and to that end, The Princess Bride has earned its spot on the list. It’s a movie of duality: both comedic and profound, both sincere and a parody, able to be enjoyed through the eyes of a child and the eyes of a grandfather. Pervasive through it all is a beautiful exhibition of different kinds of love, tied up succinctly in three powerful words. A savior for the indecisive wondering what to watch on a movie night, The Princess Bride is an emotional support movie to the many who deeply love it. So slap together a couple nice MLTs and grab some people you love to watch The Princess Bride. And if, like me, your movie night involves a room full of people quoting along nearly every line in real time, take a moment to marvel at the impact this movie has had through the generations.

#49: Lawrence of Arabia (1962)

Every Catholic should watch Lawrence of Arabia because, it’s doubtful any other film has come as close in the past few decades to fully capturing the reason why we go to the theaters to watch 2-3 hour long films in a dark room with strangers. I’ve barely touched upon the plot of the film or Peter O’Toole’s brilliant performance in the title role because that’s exactly the point: we watch the film because of the transportive quality imbued by the images on the screen, and those images tell us a story in a way that a novel or painting never could. To achieve this exact, immersive quality can never truly be achieved by filmmakers who do not ground themselves in the hands-on, gritty aspects of their craft.

#50: The Lord of the Rings Trilogy (2001-2003)

The Lord of the Rings are beloved classics, and I am sure that most of our readers have seen them many times. However, for those who haven’t, or those who are inclined to look down on them as inferior to the books, I suggest you give them a try in good faith. These are amazing cinematic accomplishments which are very faithful in the essentials to the masterworks of one of the greatest Catholic writers of the twentieth century. Do not let the limitations of the medium of film distract you from the glory and beauty of these movies; rather, let the visual and emotive capabilities of the films sweep you away to Middle Earth.

#51: Apocalypse Now (1979)

Apocalypse Now represents a singular and unparalleled entry into cinema’s canon of great films. Epic in scope, the film covers great distances both in physicality and in psychological introspection. Upon closer investigation, a fascinating moral element emerges, providing ample material for thoughtful Catholic viewers For those bold enough to take the challenge, it is an unforgettable cinematic experience.

#52: Fantastic Mr. Fox (2009)

Mr. Fox feels a very human tension in the film between what he ought to do and what he wants to do. He blames doing what he wants to do on being a “wild animal,” that is, on nature. In a weird way, the beast-fable nature of Fantastic Mr. Fox allows us to look at human nature more clearly and pinpoint exactly why we’re afraid to grow up and live for others. At a key point in the film, Mr. Fox encounters a wild wolf from a distance. In that moment, it’s clear the wolf is wild and Mr. Fox is not the wild animal—he’s the stand-in for us humans who, while not always wild, all have the capacity to be fantastic.

#53: The Passion of the Christ (2004)

Editing, effects, scoring, sound, and cinematography all gleam to bring us the greatest expression of our Christian belief within this century. Many have tried throughout history to give us a meaningful and impactful portrayal of Christ, none have come anywhere close as of the writing of this, with the only contenders on the horizon being Malick and Gibson’s own Resurrection sequel. Regardless of others’ quality, The Passion of the Christ serves as the quintessential Triduum film for all Christians and will continue to endure as a cornerstone of Christian cinema.

#54: The Jeweller's Shop (1988)

I have a deep love of The Jeweller's Shop, and I think it is particularly profound for today’s culture because in each of the couples, we see reflections of the constant "challenges thrown to us" (to use a line from the original) in love, and how they can be overcome: the initial hesitancy and fear in Theresa and Andrew; the hurt and distrust in Anna and Stefan; the brokenness and consequences from their own experiences of their parent's love found in Christopher and Monica. Beyond that though, we are reminded, through Anna's grief and encounter with Adam, that we all ache for a love beyond all other loves. To be seen, and loved, and known intimately by Love, by the Bridegroom... though He may not always be where we want or expect to find him. Yet He is always there, we simply must keep our lamps burning for Him.

#55: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)

We are Lucy when we embrace our present moment grace. We are Edmund when we allow irritation and pride to cloud our view of what is good and just. We are also Edmund when we atone. We are Susan when we try too hard to use our intellect in matters of faith. We are Peter when we fight to further the kingdom of God despite overwhelming opposition. The film makes the Pevensie children so real and tangible. The regret and pain of a fallen Mr. Tumnus is gut wrenching. The comfort and gentleness of Aslan is remarkable.

It's magical, entrancing.

The movie adds, it does not subtract.

#56: Close Encounters of the Third Kind (1977)

So it is also that the viewer of cinema who is best able to approach a film is the one who has still not lost his sense of awe and wonder, who still can be moved by a beautiful John Williams score or the tricks of the light utilized by an expert cinematographer. The movie theater is the closest place outside of church where- if the movie is true, good, and beautiful- a group of strangers can find themselves sharing a common sublime experience through the manipulation of lights, colors, and music.

#57: The Mission (1986)

There are really three missions in The Mission, each intertwined with the others. The first mission is Fr. Gabriel’s mission to the Guarani; the second, Rodrigo Montoya’s mission to find redemption; and finally, Cardinal Altamirano’s mission to suppress the missions and allow the Portuguese to occupy their land. Each of these characters represents a different philosophy of love, loyalty, and conscience, some of screenwriter Robert Bolt’s main preoccupations (see his other entries on this list, A Man for All Seasons and Lawrence of Arabia). Each man is totally dedicated to his mission, but they are each challenged by a different loyalty, a deep-seated element of their character, to abandon or redirect their mission. For each, many lives and many souls, including their very own, are at stake.

#58: Autumn Sonata (1978)

Autumn Sonata is a subtle but towering film. Its greatness is not founded on lavish scenery, stunning visual effects, or an epic music score. Rather, it is founded on Ingmar Bergman’s immense restraint. There is no sex or violence, nor anything graphic. The characters are intense but not exaggerated and the music is appropriate, serving the overall film beautifully without seeking to engineer ‘deep’ feelings in its viewers. Instead of delivering cheap emotional manipulation, the film, through its exceptional screenplay brought to life by visceral performances from Liv Ullmann and Ingrid Bergman, delivers a profoundly cathartic drama.

#59: Cinderella Man (2005)

Cinderella Man is a great example of how to suffer well. Suffering is part of the human condition. Times always seem to be tough, and sometimes nothing goes well. Films provide inspiring examples of people who struggle, yet also push forward and never give up no matter how bad it gets. No one goes to the cinema to see suffering, but no one should go to the movies just to escape it either. Instead, movies can give us strength or perhaps insight to return to our own sufferings and bear them well. Walking away from a movie with an emotional impact helps us face the troubles in our own lives. We often live our lives in imitation and a good movie provides powerful examples of virtue and character for us to imitate. Cinderella Man is just such a movie. It is a heartening depiction of a good father and husband, a loving and supportive wife, a sacrificial and encouraging manager. In many ways it is a brutal film and depicts such a harsh reality. Yet at the same time it emboldens us to face our own lives with the same fortitude as Braddock. To take our punches and never give up. James J. Braddock fights for us too.

#60: A Quiet Place (2018)

John Krasinski’s A Quiet Place is a bright light shining amongst recent films and claims the title as the latest release on our list. The visage of a horror film gives way to a tender and poignant family-centric drama. Themes of the beauty of marriage, the goodness of the family and the inherent value of human life abound. With a manageable 90-minute runtime, it is well worth watching for anyone who can handle a mix of thrills, terror, and emotional intensity.

#61: Gladiator (2000)

Gladiator stands as one of the greatest films ever made and has only ever improved upon every subsequent rewatch: nobody makes a historical epic quite like Ridley Scott. Russell Crowe won the Oscar for Best Actor for his portrayal of the virtuous pagan, Maximus, and its probably the best performance he’s ever done. Maximus’ journey to avenge those he ends up losing is riveting, and he is amiably supported by both the late great Oliver Reed as Antonius Proximo, a former gladiator who now trains other gladiators, and always-reliable character actor Djimon Hounsou as Juba, a fellow gladiator. Without giving away too much, in a tragic turn of events, Maximus finds himself going from general to slave, and the only path to his freedom- and vengeance- comes to him in the form of the gladiatorial arena.

#62: The Shawshank Redemption (1994)

The Shawshank Redemption stands as a testament to the art of filmmaking in all aspects. Its impact on culture and the art form will forever be felt. It is beloved by almost all (including me) as one of the greatest films of all time, and reminds us of what cinema is capable of. Its deeper conflicts and meanings add a layer that allow viewers of all walks to appreciate it and find enjoyment, and stands king amongst a year many consider to be the greatest year for cinema (1994). In my long journey of cinema, I truly believe there will never be another film quite like Shawshank ever again, and there will be no film that speaks to me quite how it does. It offers so much on a dramatic and spiritual level that it wholly deserves a spot on this list, as well as the top of all watchlists for those who have not seen it yet.

#63: Inside Llewyn Davis (2013)

Llewyn's journey, marked by setbacks and disappointments, underscores the Christian virtue of hope—the confident expectation of God's promises and the belief in the possibility of redemption and renewal. In the midst of struggle, characters demonstrate resilience and perseverance, drawing on the Catholic understanding of suffering as a path towards spiritual growth and deeper union with Christ. His character serves as a poignant reminder of the importance of recognizing one's need for grace and the transformative power of repentance in the Catholic understanding of conversion. The film's resolution, though ambiguous, offers glimpses of hope and the potential for new beginnings, reflecting the Christian belief in the ultimate triumph of light over darkness and the promise of eternal life in Christ.

#64: Metropolitan (1990)

After this surprising success, Metropolitan has turned into a bit of a cult classic. Not a massive one, but big enough that rereleases have sold out throughout the last two decades. Why is that? I believe that it is because of love that Stillman shows his characters despite their elite lives in the same way that Evelyn Waugh’s books still speak to us despite none of us being Landed Aristocrats. Waugh and Stillman poke fun at the pride of the elites, be they landed gentry or UBH not because of who they are but because of their misplaced pride. Only by overcoming the pride in status do the characters become actually worthy of being elites.

#65: Heat (1995)

Mann’s choice to make Heat a “city story,” is part of why the film remains an enduring classic that bears rewatching. Heat is no simple cops and robbers story. It’s a deeply moving morality tale about an entire city, where every choice has consequences and every life matters. Bullets may fly. Blood may be spilled. But Mann is not interested in violence for the sake of violence — he’s interested in what gives life meaning for these men, who live on the edge of a knife. Heat is a film about consequences. Every action in Mann’s Los Angeles has repercussions that effects the lives of all the players.

#66: Princess Mononoke (1997)

Though Miyazaki is not Catholic, he, through nature, uses imagery that is fiercely sacramental. One blunt example of this is a character literally emerging from water with new life and new purpose, though other examples are far more subtle and intricate. If anything, Princess Mononoke is one of the clearest examples of Miyazaki searching for meaning and truth using beauty as a guide. Funnily enough, that guide keeps leading him to make films with overtly religious undertones.

#67: Captain America: The First Avenger (2011)

100 Movies Every Catholic Should See is proud to include on our list movies from every era and genre, representing the universality of our faith and the beauty and diversity of storytelling. It is fitting, then, that Captain America: The First Avenger represents our second superhero film, one which can communicate to a very broad audience themes of virtue, moral strength, courage, leadership, patriotism, and self-sacrifice that are so crucial to our development as Catholics. I began this essay by positing that all classic superheroes are Christ-figures; Captain America in this film is perhaps the purest superheroic Christ-figure ever put to screen (with the possible exception of Superman). His incorruptible virtue and commitment to self-sacrifice make him a shining beacon of light and hope in a world painted with shades of gray. Thank you, Captain Rogers, and God bless America!

#68: The Elephant Man (1980)

An encounter with suffering is at the heart of the Catholic faith, but to recognize suffering as a gift is a challenge even for the greatest saints. When we see someone who has undergone great sorrow, do we recoil in discomfort and try to ignore the suffering in the world, or do we encounter the one who suffers with a compassionate presence? From those two options, the Christian response is obvious, but how difficult this remains for many of us when the suffering person appears beyond help. As David Lynch’s powerful true-life drama The Elephant Man demonstrates, a person who appears beyond help does not eliminate our responsibility towards our fellow man. Rather, it increases that responsibility to care and walk alongside the weak and the unaffirmed.

#69: Ikiru (1952)

The life-affirming quality of this film is something I have only ever felt elsewhere in the aforementioned It’s a Wonderful Life. The effect this film has by the end is powerful enough that I believe it could cause real change in the life of the viewer. If you sit silently for 2 hours and 23 minutes and simply observe the last six months of the life of Kanji Watanabe, it will have an effect on you, too.

#70: The Scarlet and the Black (1983)

The Scarlet and the Black is, perhaps, my favorite thriller of all time because of its excellent performances and film-making, its tight and thrilling story, and its use of beautiful Catholic imagery. It is a great example of what Catholic cinema could look like, not overtly preachy or sentimental but an excellent film in its genre that wrestles with Catholic themes and uses powerful Catholic symbolism to create a beautiful film. Although it does not receive as much acclaim as it should, it fits in quite comfortably with the other great thrillers on our list such as The Third Man and I Confess. It is an excellent Catholic thriller and should become a perennial favorite of any Catholic cinephile.

#71: Signs (2002)

Signs remains one of M. Night Shyamalan’s best films, made in a time where audiences could appreciate a fundamentally Christian story without feeling the urge to nitpick it to death on the Internet. James Newton Howard’s score is as mesmerizing as his prior and subsequent collaborations with the director, and the ensemble of actors- especially the children- brings Shyamalan’s brilliant script to life in a charming and engaging way. Despite the writer/director’s emphasis in later interviews that he is not a religious person, it’s another testament to Providence that this film is as spiritually enriching and thought-provoking as it is.

#72: Nights of Cabiria (1957)

Nights of Cabiria does not offer easy answers nor provide a predictable and cookie-cutter outcome, something that has plagued so many Christian films of recent years. Faith is difficult. Life is hard. Often God does not answer prayers in the ways that are most expected. That is where the mastery of this film lies, in its unflinching depiction of the raw and often desperate drama of a sinful life, slowly stumbling towards the promise of God’s redemption.

#73: Going My Way (1944) & The Bells of St. Mary's (1945)

Going My Way and The Bells of St. Mary’s are absolute classics that will delight a Catholic of any age. Their unapologetic use of Catholic imagery and circumstances (and surprisingly solid theology) present a Catholic subculture that once thrived in this country, and can again, with a little work. The examples they present of holiness, kindness, and joyful service of the Lord and of neighbor will refresh and strengthen the spirit of any jaded modern Catholic who engages with them uncynically. These films are as fresh and funny today as they were when they came out in the 40s. They do have their secular detractors; as the music man tells Fr. O’Malley, “schmaltz doesn’t sell this season”. However, their simple beauty and unironic humor will capture the hearts of any who watch it with those hearts open. May we all encounter (or become) a Fr. O’Malley in our own community and represent the joy of Catholicism as endearingly as he did.

#74: Fiddler on the Roof (1971)

Tevye shows us that you can be a virtuous man even in the face of great trial and tribulation, holding fast to a living tradition that grows through love. Fiddler on the Roof is a witty, clever musical with excellent characters who make you cheer, laugh, and cry for them. Combine that with catchy showtunes, a compelling storyline, and beautiful cinematography and you truly have a match made in heaven.

#75: Stagecoach (1939)

I love Stagecoach for its delicate and balancing depictions of the big picture view of life, the civic virtues that are necessary in a free society, and the genuine commitment of unconditional love between a man and a woman.

In the end, two people can find each other aided by conversations about the meaning of life. Ringo tells Dallas, I have a ranch over the border, a man and a woman could make a life together there. In this study in classic philosophical anthropology, Trevor’s character tries to avoid the uncomfortable confrontation that is likely and does take place in the town of their destination: she urges Ringo to escape when the audience knows that the highest and best virtuous action is to stick it out on the ride to the town and confront their love for each other and their future there.

#76: The Song of Bernadette (1943)

There is much more that could be said about The Song of Bernadette. The sheer simple beauty of the imagery, the excellent acting, the commentary on belief and hostility to God, the way that humans all try to shift responsibility to others in difficult circumstances; there are many different facets to this film that make it worth watching. But in my mind, its focus on showing struggle, suffering, and human flaws which must be overcome in the life of St. Bernadette are its strongest points. I invite you to watch it and let the beauty and power of the story speak for themselves. And if you get bogged down in the admittedly slow second act, I beg you to hold on for the last 45 minutes of the film; you will not be disappointed.

#77: The Lion King (1994)

All in all, the combined force of a classical story, animation wizardry, and a powerful, Oscar-winning score by Hans Zimmer and soundtrack by Elton John and Tim Rice have made this one of Disney’s finest films and one of the greatest animated films of all time. The love for this film is so strong that when the (terrible) remake released in 2019 it earned more than a billion dollars. Ironically, for the past few years, the studio has been producing original stories, but without any of the influences and intellect that helped make The Lion King great: a return to a classical form of storytelling is long overdue if Disney wants to ever come close to making something as great as this film.

#78: In Bruges (2008)

While McDonagh may lack the faith of his upbringing at present, its influence on his creative imagination is palpable. Along with his brother, John Michael (see Calvary), these firebrand Irish directors have contributed to a renaissance of filmmaking imbued with deeply spiritual sensibilities. In Bruges represents a richly provocative viewing, challenging one wrestle with profound moral questions. McDonagh confronts the world's ugliness and asks, perhaps this is not all there is.

#79: Children of Men (2006)

Children of Men is certainly a difficult movie to watch, but it is a rewarding one. The despair induced by the world Cuarón brings to life is excessive, but so also is the hope found there. In the character of Theo, we find a helpful mirror for our own lives. Are we as Theo is in the beginning of the film, meandering without purpose and completely self-absorbed? Or rather, as he becomes by the end, willing to lay his life down in the service of others? The difference in the two versions of Theo and of ourselves is the acceptance of and cooperation with a breakthrough of grace. For Theo this comes in the form of Kee’s miraculous child. For those of us who are parents, it may come in the birth of our own children, but fundamentally for us all it can be found in the Incarnation. Furthermore, Children of Men reteaches us what we all instinctively know, but have either rationalized away or forgotten, that human life is a precious gift and a tremendous cause for hope.

#80: Rocky (1976)

Such a character as Rocky will prove to be a constant reminder to us as individuals that God never asks us to win the battle, let alone that of identity, single handedly, but wants us to go the distance not to prove our identity but to live in the identity he has bestowed upon us, to have reached the end of our lives being able to say “I have fought the good fight, I have finished the race, I have kept the faith” and to let God use what we’ve given him to sanctify us.

#81: Inception (2010)

Nolan’s Inception is the perfect blend of high-concept, Bond-level antics with a deeply personal, emotional story crafted by both Nolan and DiCaprio, the latter of whom did some work on the script strengthening his character. Subsequent films have also touched upon similar themes of longing for home, especially with Interstellar in which a man leaves his children for years to try to save the world and ends up missing them growing up. Nolan has carved out a very special place in the filmmaking world where he can balance his family and craft, a virtuous tightrope act that sets him apart from many of his contemporaries.

#82: Gran Torino (2008)

Gran Torino is a film full of very flawed characters put in a situation which could lead to their salvation or damnation. It’s unpolished, it can be shocking, and it’s not a saccharine or sanitized story. It reminds me in many ways of the stories of Flannery O’Connor, who exposes spiritual truth through stories than can be unpleasant and characters that are infuriating as often as endearing. The redemption of Walt Kowalski is the story of all of us, mired in sin and self-interest but able to be drawn to the transcendent through love of neighbor.

#83: Field of Dreams (1989)

Field of Dreams isn’t about baseball. It’s about reconnecting with what matters, about healing old wounds, and about getting that one last chance to say what you didn’t get to say before. Even more than all that? It’s about the power of faith — of believing in something, even if you cannot see it, and letting that faith drive your life and give you hope, give you meaning.

#84: The Blues Brothers (1980)

“We’re on a mission from God”

The Blues Brothers is perhaps the most peculiar to be included on this list. It is one of the few comedies to be on the list, and while it can be seen as nothing more than a silly odyssey through the American Blues landscape (which it indeed is), there is something deeper, more fundamental, and Catholic at the heart of this bombastic tale.

#85: Sleeping Beauty (1959)

Sleeping Beauty is one of the greatest fairy-stories ever put to film. Its strong moral aspect, allegory for the Christian life, and aesthetic beauty warrant its status as a true cinematic classic. It is a film which should be shown early and often to children, of course, but also can be deeply appreciated by adults, who should not be shy about returning to Faerie whenever they can to refresh their souls and recover those deep truths we often lose in modern life. Dragons can be slain, true love’s kiss will revive the princess, and at the darkest moments hope and virtue will conquer darkness and evil.

#86: Diary of a Country Priest (1951)

Bresson’s Diary of a Country Priest represents a remarkable entry in the history of film, not only for its artistic merit but in its authentically Catholic portrayal of the dynamism of God’s Grace, acting through fallen man. It belongs near the top of any compendium of films that tackle the question of sin, faith, and redemption. It is, perhaps, one of the most profoundly Catholic films ever put to screen. This powerful artistic expression most poignantly captures Paul’s words to the Romans in Sacred Scripture: ‘‘where sin increased, Grace abounded all the more” (Romans 5:20).

#87: Les Misérables (2012)

Ultimately, the reason that Les Miserables touches the hearts of so many, is because it is a story, beautifully told, of self-sacrifice, hope, and love. Self-sacrifice, knowing that there will be moments of suffering when you do what is right. Hope in a brighter, better future, particularly when that future rejects a past of sin and hate.

#88: Hail, Caesar! (2016)

There is worth behind the stories being told through cinema, and for brief moments, the truth of Christ can touch people’s hearts. Working in the studio system, maybe people have to squint to see the beauty. Sitting in the movie theatre watching the final film, the grandeur becomes more visible. As Baird Whitlock asks in his monologue, why shouldn’t Christ appear in this strange place, among these strange people, to shoulder their sins? His character is referring to the Holy Land. The Coens are referring to Hollywood. Is it possible, even in this modern cynical moviemaking landscape, for the message of Christ once espoused by studios to reappear on the movie screen? Hail, Caesar!, for all of its ironic winking, feels proof of that.

#89: The Incredibles (2004)

More than any other Pixar film, The Incredibles is a film about the importance of family, as Bob begins to realize that the family he thought was getting in the way of true happiness is actually what has been giving him his strength and joy all along. Despite those who see the film as emblematic of the philosophy of Ayn Rand (yes, they exist), the film is about as far as you can get from promoting the radical individualism that is to be found in Rand’s ideas about objectivism. Instead the film is a conscious warning against acting out on only our selfish wants and desires and an uplifting of the duties of family life. The members of the family all have superpowers and use them when they need to, but the source of their happiness come more from family dinners, track meets, and doing normal, everyday things than saving people in burning buildings.

#90: Of Gods and Men (2010)

Of Gods and Men is an uncompromising film that examines the implications of the Christian faith through a deeply human portrayal. A profound theological and liturgical sense permeates the entire experience, setting the drama of human existence upon a firm foundation of prayer and the sacramental life, an intersection of the temporal and the timeliness. Few films have achieved something so luminously beautiful. Of Gods and Men represents a masterful exercise of cinematic craft, informed by the principles of faith, challenging the viewer to look inward and wrestle with implications of their faith. It is not merely recommended viewing; it is essential for any Catholic.

#91: Miracle on 34th Street (1947)

We have to choose to believe in Santa, just as much as the characters of the movie. We have been evangelized, so to speak, and given all that we need to make the leap of faith, to put our belief in someone who exemplifies the Good, True, and Beautiful. That’s what brings real peace and joy at Christmas, that belief in something greater than yourself who brings a benevolent love to the world. This film, of course, does not overtly connect belief in Santa with belief in Christ, but in my opinion Miracle on 34th Street is an excellent allegory for the bliss that comes when we remember the true meaning of Christmas.

#92: Life is Beautiful (1997)

"La Vita è Bella" or “Life is Beautiful". Such a title could, and often does, seem paradoxical even after reading a synopsis of the film. How could one dare state “life is beautiful” after presenting us with one of humanity’s darkest periods. Benigni actually gives us insight as to where such a title comes from.² The title comes from the words of Leon Trotsky- Stalin’s former right-hand man who was at the time of quotation exiled in Mexico, awaiting the inevitable arrival of Soviet assassins. Yet despite the terrors surrounding and plaguing him, and being greatly aware of the soon and painful arrival of death he would have to suffer for his prior allegiance, Trotsky finds himself reflecting and contemplating on the beauty of life around him.

#93: The Shop Around the Corner (1940)

Little do the quarreling Alfred and Klara know the inner truth: they have been each other’s pen pals this whole time. Sooner or later one of them will know it. But… will this inner truth keep both love birds from living happily ever after? Well after all, as stated above, like George Bailey’s journey and like the Word made flesh, the inner truth should lead one to joy and rebirth. A new beginning. A new adventure.

#94: Modern Times (1936)

Modern Times is one of the funniest films of the 1930s, but also reveals deep and abiding truths about the human spirit. The film is surprisingly concordant with the classic encyclicals that make up Catholic social doctrine, showing the absurdity of modern life but the dignity of the human beings living it. Chaplin is able to weave together drama and comedy, hijinks and social commentary in a masterful way, creating a film which is both deeply watchable and surprisingly profound. I suggest all Catholics give the entire filmography of Charlie Chaplin a look, but if there is one film which shows the master at the height of his power while simultaneously distilling the themes and humor of all his films into one, it is Modern Times.

#95: Cheaper by the Dozen (1950)

Name a Hollywood film that openly mocks Planned Parenthood. I’ll wait. How about a movie featuring a strict and protective father who is adored and beloved by his teenage daughters? In what other movie, besides this one, does a father chaperone his teenage daughter to her school dance and her peers remark positively on his presence? And of course, the biggest differentiator, are there any other secular produced movies featuring a happy family with twelve children? Or for that matter, more than 3?? No, there are no other movies quite like the one-of-a-kind Cheaper by the Dozen.

#96: The Pianist (2002)

Truly, if such a poignant, beautiful film can come to us through the hands of such a flawed soul, then all things are indeed possible with God. The Pianist is a powerful film for its subtlety and commitment to portraying the authentically lived human experience—an experience that is reliant not on its own power but on the kindness of others and the transcendent gift of music. This is one that the Catholic viewer will not want to miss.

#97: Night of the Hunter (1955)

Part of the film’s lasting power comes from Laughton’s gentle, innocent treatment of the child characters, calling to mind Christ’s message to become like little children in order to enter the kingdom of heaven. As she tends to the children under her care, Miss Cooper offers a reflection of hope. In a world full of wolves who would do God’s children harm, the innocence of children must be protected, and will always prevail over evil.

#98: The Ten Commandments (1956)

The Ten Commandments is equal parts the spiritual epic that we have all come to know over our journey through the faith and a time capsule of cinematic history. This adaptation of Exodus does not secularize so it can “appeal to a wider audience”, but rather doubles down and treats all who watch it as believers, which cinematic adaptations of religious content should do. DeMille’s remake of his own silent epic takes itself serious and insists upon itself, displaying earnest belief in its source material.

#99: Casablanca (1942)

If you haven’t seen Casablanca, the choice Rick makes is one I will not spoil. What I have already written on “noble sacrifice” may have already given you an indication, but the context and the way the ending unfolds must be watched to receive the full impact, making for one of the most memorable denouements in the history of the medium. Casablanca is about the war for humanity, not only on the grand scale of the Second World War, but also interiorly, in the no less dramatic saga of a man who has lost the ability to love and to receive love. The stakes couldn’t be any higher.

#100: Ben-Hur (1959)

Ben-Hur is a masterpiece, one deserving of a spot on any list of greatest films of all time. Its beauty and power are undeniable, even by secular critics. However, its portrayal of Christ and its powerful Christian themes elevate it to the level of some of the greatest Christian works of art. Its compelling drama and masterfully played characters engross you in the story, but the power and majesty of its portrayal of Christ leaves you thirsting for more. It turns common Hollywood tropes on their head in favor of a more Christian understanding of human nature and morality. And it leaves us with a work of art which is unparalleled in film history.